The Armed Mann

Inspired by the style of the English Virginalists (of which Queen Elizabeth R was one!), this set of variations joyfully fathoms the beauty, intricacies and eccentricities of the long-lost musical voice of the High Renaissance. The use of modal scales (especially Dorian and Mixolydian), ornamentations of the day, quixotic polyphonic flourishes bring fresh, sometimes dissonant yet delightful turns of phrase to our modern ear.

The subject for this set of variations is the jaunty French song, “L’Homme Armé”. First appearing at the time of the fall of Constantinople to the Ottoman Turks in 1453, there is stylistic evidence that the immensely popular tune may have originally emerged as far back as the late 1300’s. Being a military ditty, it may have been a tavern favorite of Crusaders at the time, being especially significant for the Order of the Golden Fleece.

The work begins with a simple iteration of the famous theme, followed by seven different settings intoning a variety of tempos, meters and moods. The last setting is especially bold with imitative techniques, the finale featuring florid and bombastic moments – only to end in a sort of calm exhalation. Musicians familiar with the “Fitzwilliam Virginal Book” may recognize a pattern in how the variations unfold, as well as the obvious influence of William Byrd, Orlando Gibbons and Giles Farnaby.

Intended for harpsichord, most effectively a double manual with a wide array of stops (see indications for lute stop and other settings in the music), the piece also plays well on piano and organ.